place where we go to experience something that's bigger than ourselves", feeling it wasn't just "cool" but "important", and even "utopian", that "in the middle of all these other people doing the same thing" she could dance in her "own space" on her "own terms", wanting "to make a song called 'Dancing On My Own'" but still unsure "what it was going to be about". Following the example of the "inherently sad, gay disco anthems" she loved, including tracks by Donna Summer with Giorgio Moroder, Sylvester, Billy Idol's "Dancing with Myself" (1980), Ultravox's "Dancing with Tears in My Eyes" (1984), and Sheila E's "A Love Bizarre" (1985), the song's storyline eventually came to her, picturing "the god-awful feeling of a woman who is watching her ex get with someone new at a club". "With an idea of a chorus in her mind," Robyn wanted to work further with Åhlund but couldn't stop "toying" with the song on her own, eventually reaching out to prior collaborator Patrik Berger for a "different perspective". Patrik had prepared for weeks before their first session at his Stockholm studio with a "slew of electronic beats and tracks for Robyn to write over". All of this was for naught as the first thing she said was, "Can we sit down and write a song on an acoustic guitar today? I'm so tired of writing over electronic beats and tracks." Their first result was an "acoustic 'campfire'" demo with three chords in the manner of a country song. The chorus came first quickly, followed by the chords and parts of the melody. After days of "fatten[ing]...up" that demo, the two of them realized "...they preferred the original and stripped it all back down" again. Patrik, facing pressure from Swedish music industry insiders "telling him what he should do" with the song, decided for the first time that "rather than following the pack", he'd write and produce the song "how he wanted to", following a new group of "sonic scholars" in the country breaking away from Max Martin's "school of pop". Swapping "the acoustic guitar for synthesizers with frayed edges and a beat that aimed for a TKO," Patrik went "raw and gritty", "aiming for a 'window' of song" that would capture its "commercial appeal without destroying" its "myster[y]". With this third demo, entitled "Right Over Here", compared by Robyn and critics to Glasvegas' "Geraldine" (2008) and later